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SalsaMagazine.com

The Rise of Salsa

BY ERNESTO LECHNER

The word salsa is actually an umbrella term that encompasses a widevariety of clearly distinctive, but equally addictive Afro-Caribbeanrhythms and dances: the mystically tinged rumba, the elegant danzón, thesinuous cha cha cha, the joyful guaracha, the explosive mambo and, mostimportantly, the earthy son, the islands quintessential song format.

The origins of the term are the subject of debate among the moreobsessive aficionados. Some go back to a 1933 recording by Cubanbandleader Ignacio Piñeiro and his Sexteto Nacional named "EchaleSalsita," which uses the sauce word as a metaphor for thedance-friendly flavor found in the music. Others credit an obscureVenezuelan radio DJ who used the term to describe the new school ofAfro-Cuban music coming out of New York, via the legendary Fania label,and Puerto Rico in the 60s. Founded by impresario Jerry Masucci andbandleader/flautist Johnny Pacheco, Fania gathered the most talentedmusicians of the time under one roof, blending the percolatingcombustion of Afro-Cuban rhythms with the swing of big-band Americanjazz and the gritty, inner-city vibe of r&b.

The Fania catalog represents the apex of tropical music, the standardagainst which all subsequent efforts continue to be measured. Theres nodenying the cathartic power of the earlier, more traditional examples ofthe Afro-Cuban canon. But seminal efforts by the likes of Pacheco, RubénBlades, Héctor Lavoé, Willie Colon, Larry Harlow, Eddie Palmieri, CeliaCruz and the Fania All-Stars (the labels own mega-orchestra) took theentire genre to another level by adding to it a modernist approach,social commentary and an omnivorous taste for outside influences.

The Fania movement influenced salseros all over the Americas, whostarted creating their own version of the new sound, fusing it withtheir local folklore. When Fania collapsed in the mid-80s and a new,watered-down style by the name of salsa romántica took over theairwaves, it was Colombia that assumed the reign of quality tropicalmusic with artists such as Joe Arroyo, Grupo Niche Fruko y sus Tesos andthe Latin Brothers. But the insipid salsa romántica craze didnt last. Itwas replaced in the 90s by a return to the more organic, hardcoresensibility of the 70s, with the four geographical super powers of salsa(New York, Puerto Rico, Colombia and Cuba) releasing their share ofnoteworthy recordings.

In the last 15 years, a new generation of Cuban musicians has cultivateda more extreme style known as timba. Using their conservatory-earnedskills, these artists perform salsa at the speed of light, adding strongdoses of American hip-hop and r&b. Groups such as Los Van Van, Bamboleoand the excellent NG La Banda have divided fans with the aggressivenessof their sound. Some consider their efforts the anathema of tropicalmusic, while others applaud their creative restlessness as a sign ofexciting new salsa sounds to come.

HECTOR LAVOE - Shooting Star of Salsa

Because of his mercurial charisma and appetite for self-destruction,Héctor Lavoé was as much of a rock star as salsa has ever known. Thosewho were lucky enough to see Lavoé in concert before his untimely deathin 1993 will tell you that it was an unforgetable experience.

Ironically, only hardcore salseros are aware of Lavoés importance.Casual Latin- music lovers are more familiar with the work of hisproducer and songwriting partner, trombonist Willie Colón, whom Lavoémet after moving to New York from his native Puerto Rico in 1963. Young,streetwise and eager to impress, the duo was exactly what the recentlyestablished Fania label was looking for when it released Colónsappropriately titled debut, El Malo (The Mean One). Between 1967 and1974, Lavoé recorded a string of hits as the featured vocalist in Colónsorchestra, his throaty, thickly textured vocals gracing such cuts as thegritty "Calle Luna Calle Sol" and the bouncy carnival anthem "La Murga."Lavoés joyful presence also added an extra bit of spark to thesupergroup the Fania All-Stars. In 1975, Lavoé recorded his excellentsolo debut La Voz, which crackled with the singers new creative freedom.Tunes such as the euphoric "Mi Gente" and the darkly morbid "ElTodopoderoso" showcased the Lavoé aesthetic in full blossom: The musicoverflows with flavor and swing, while the lyrics betray Lavoés deepknowledge of Puerto Rican slang, as well as his deliciously cynical viewon life and love.

Whereas his career was blessed with success, Lavoés personal life was ahorrible succession of tragedies, including the death of his son at age17, the brutal murder of his mother-in-law and a heroin addiction thateventually resulted in his infection with the HIV virus and his death ofcomplications from AIDS at age 46. Lavoés persona as the famous salsasinger, happy on the outside but psychologically bankrupt on the inside,was perfectly encapsulated in "El Cantante," a song written by RubénBlades, which Colón convinced him to give to Lavoé. When it came timefor Lavoé to record it, Colón did the unthinkable, enlisting a stringsection for a memorable instrumental passage that adds a majestic,mournful atmosphere to the song. To this day, "El Cantante" isconsidered by many to be the greatest salsa anthem.

Since Lavoés death, countless salsa acts have covered his songs, makingit painfully obvious how difficult it is to emulate his one-of-a-kind,guttural delivery. Of the many post-mortem tributes out there, none canmatch the emotion in Colóns 1995 cut "Homenaje a Héctor Lavoé." To thisday, Colóns voice breaks whenever he remembers the lifelong friend withwhom he changed the course of salsa forever.

Essential Listening:

DE TI DEPENDE FANIA. A superlative date from 1976, including the classic"Periódico de Ayer." Here, both slow and upbeat numbers are equallytorrid. COMEDIA FANIA. The breathtaking "El Cantante" alone is worth theprice of admission. Other delights include the openly misogynistic"Bandolera," with a smoking piano solo by Gilberto Colón Jr. HARD TOFIND BUT WORTH HEARING: W/ WILLIE COLÓN VIGILANTE FANIA. Together, Colónand Lavoé experiment with extended compositions and elaboratearrangements. Their most experimental album is marked by a strong r&binfluence.

RUBéN BLADES - Latin everyman

Whereas Héctor Lavoé was the definitive salsa singer, Rubén Blades wasthe genres ultimate songwriter, a brilliant thinker who revolutionizedAfro-Cuban music by combining infectious melodies with lyrics that casta poetic, often sarcastic glance at the vicissitudes of modern life.

Born in Panama, where he would eventually return as presidentialcandidate, Blades moved to New York in the mid-70s, following his dreamof becoming a salsero. A job in the Fania Records mailroom led to aguest spot in conguero Ray Barrettos band. It was only a matter of timebefore stellar producer and trombonist Willie Colón discovered the youngmans potential and decided to produce Blades debut, 1977s Metiedo Mano.The record was vibrant and refreshing, Blades voice sounding uniquelypoignant, and Colóns production guaranteeing an authentic salsa spirit.Songs such as "Pablo Pueblo" talked of the downtrodden people of LatinAmerica. This theme would recur often in Blades work over the years.

The Blades / Colón collaboration came to full fruition on the 1978classic Siembra, which included the seven-minute mega-hit "Pedro Navaja"and was, until recently, the best-selling salsa album of all time.Everything came together on Siembra: Blades knew how to swing, but atthe same time he was a masterful storyteller, creating vivid tableaus ofLatin American magical realism. By the early 80s, the singer signed toElektra in a bid for creative freedom. He replaced his big band with ajazzy sextet named Seis del Solar, and released his all-timemasterpiece, the concept album Buscando América (Searching for America).Here, the gritty stories revealed a more cynical yet still hopefulBlades. Miraculously, he was able to enlighten without sounding preachy,telling complex stories while delivering some of the spiciest salsa inthe business.

Blades was never able to match the brilliance of Buscando América, butall of his Elektra albums offer their share of intriguing tunes. Duringthe 90s, he gradually abandoned his salsa roots, searching for auniversal pop language similar to that of a Sting or a Peter Gabriel. Asa result, most of this output sounds somehow tepid compared with theAfro-Cuban splendor of the past. Blades also increased his involvementin politics during this time, ultimately running for president of Panamain 1994, on the ticket of his own Movimiento Papa Egoro party; he camein second place. And Blades is currently proving all of his criticswrong with Mundo (Sony Discos/ Columbia) a spectacular return to formthat fuses Celtic, African, Brazilian and Afro-Cuban idioms for asoulful feast that nourishes the mind and the soul. (For featurecoverage on Mundo, see next months Pulse!) u

Essential Listening:

WILLIE COLON, SIEMBRA FANIA. Its only his second solo album, but Bladesis already in full control of his powers. The anthemic "Pedro Navaja"and the disco satire "Plástico" would forever change the face of salsa.BUSCANDO AMÉRICA ELEKTRA. You can dance to the music and shiver at thesheer emotionality of the lyrics. Blades volcanic love for Latin Americadoesnt obscure the sharpness of his social criticism. RUBEN BLADES Y SONDEL SOLAR ... LIVE! ELEKTRA. Blades in concert is even better thanBlades in the studio, as this smoldering live record can attest. "Ojosde Perro Azul" is particularly illuminating.

JOE ARROYORed light means go At age 10, Colombian singer Joe Arroyo was alreadyperforming the salsa hits of the moment at a whorehouse in his nativeCartagena. Customers and prostitutes alike were very impressed with thisworking-class black performer and his booming, syrupy voice. When thepolice happened to raid the place, the whores would hide the youngsinger in their bedrooms. It was a matter of time before Arroyo wasdiscovered by the Colombian music industry, always in search of newtalent in the tropical arena. Sure enough, in 1971, when he was only 14,Arroyo was enlisted as vocalist with Fruko y sus Tesos, an orchestracreated by record label Discos Fuentes with the purpose of emulating theFania sound. Led by the talented bandleader and multi-instrumentalistJulio Ernesto Estrada, aka Fruko, the group boasted two other formidablevocal talents: Wilson "Saoko" Manyoma and the late Piper "Pimienta"Díaz. Fruko y sus Tesos was the perfect vehicle for Arroyo to masterhis vocal skills. Throughout the 70s, the band was a veritable factoryof hit singles, and many of them were performed by Arroyo: "Manyoma,""El Caminante," "Nadando" and, in 1975, the self-penned "Tania." In1981, Arroyo founded his own orchestra, La Verdad and beganexperimenting freely with many kinds of music. He treasured the folkloreof his land (which includes tasty local styles such as vallenato, cumbiaand gaita), and felt a strong affinity to all things African. Betteryet, he had an instinctive understanding of the many dances to be foundin the Caribbean. When the above-mentioned genres werent enough tosatisfy his voracious appetite, he invented his own-"joe-son"-asparkling blend of son, calypso and merengue best exemplified by hismega-hit "La Noche." Sadly, Arroyo fell prey to the excesses associatedwith the salsa lifestyle, including a much-publicized addiction toalcohol and drugs. Inevitably, his voice suffered the consequences,turning his live performances of the last few years into hit-and-missaffairs. At 46, Arroyo looks considerably older than his real age. Hischarisma, however, remains unchanged, as does his prodigious talent forcomposing quality tropical music that transcends its genre. The singeris, perhaps, the only salsero who continues to release an album of newmaterial a year without ever lowering his remarkable musical standards.

Essential Listening: FRUKO Y SUS TESOS, GRANDES EXITOS DE SALSA VOL. 1DISCOS FUENTES. Allthe Fruko hits you need in one single package, including the poignant"Tania" and the fiery medley "Mosaico Santero" with Arroyo and Saokoalternating on vocals. GRANDOS EXITOS DISCOS FUENTES. "La Noche" and"Rebeliòn" (a historical account of slavery in Colombia) are some ofArroyos spiciest hits with La Verdad. Manic and intense. HARD TO FINDBUT WORTH HEARING: CRUZANDO EL MILENIO SONY DISCOS. Youd swear thisslice of classic salsa was recorded sometime in the 70s, but the yearsactually 1999, proving that Arroyo has lost none of his brilliance.

OSCAR DLEONDriven to succeed When Oscar DLeón worked as a driver in his nativeCaracas, he would entertain himself by playing drum patterns on thesteering wheel of his taxicab. A man of humble origins but boundlessambition, DLeón taught himself to play the bass, was a founding memberof his countrys quintessential salsa combo, La Dimensión Latina, andeventually became Venezuelas most popular and influential singer,regardless of genre. The roots of this miraculous success story lie inDLeóns unabashed passion for tropical music, specifically the classicbig-band sound of Cuba in the 50s, when macho singers like Beny Moréreigned supreme. DLeón had no qualms about imitating the style that heloved. Being Venezuelan, however, he brought to the mix the typicallySouth American salsa aesthetic, which calls for faster, tighterarrangements, airy and acrobatic at the same time. Thus, many of DLeónsrecordings of popular Cuban songs (Orquesta Aragóns cheeky"Calculadora," Celia Cruzs smoldering "Melao de Caña") have become thedefinitive versions of these tunes. During the 70s, the trombone-heavyDimensión Latina gave DLeón plenty of room to grow and experiment. Thesinger performed on his trademark upright bass, and harmonized with thecombos other key vocalist, Wladimir Lozano. He also started writingsongs for the band. One of them, "Llorarás," a throwaway idea that hebrought reluctantly to the group, became La Dimensións biggest hit, andDLeons all-time anthem. Eager to gain complete command of his musicaldirection, DLeón created his own outfit, La Salsa Mayor. In 1978, hereleased the groups ultimate manifesto, an eponymously titled double-LPset loaded with honey-sweet boleros and flavorful salsa tunes. Up untilthe early 90s, DLeón was pretty much invincible, recording numerous hitsthat still form the core of his impressive live show. By the mid-90s,however, the singer had succumbed to the influence of the watered-downsalsa romántica style and the hits stopped coming. But his live show didnothing but improve. An obsessive-compulsive performer, DLeón hasabsolute control of both his audience and his band, merging one songinto the next one with precision timing and enviable stamina.Persistent DLeón fans were rewarded in 2000 with Doble Play, a marvelousreturn to form that found DLeón reunited with Wladimir and honoring thewarm, old fashioned sonics of the old Dimensión school. All the while,his marathon shows remain the very best in the business.

Essential Listening: OSCAR Y SU SALSA MAYOR BALBOA. DLeóns monumentalsolo statement contains only a couple of hits, but the 15 selectionshere reveal the most soulful side of his complex musical persona. ENVIVO! RMM/UNIVERSAL LATINO. The fans had been clamoring for a properlyrecorded live set, and this two-disc affair culled from a show at NewYorks Copacabana delivers the goods. W/ WLADIMIR, DOBLE PLAY UNIVERSALLATINO. When they harmonize together, DLeón and Wladimir soundbewitching. Their version of Arsenio Rodríguezs bitter ballad "La Vidaes un Sueño" says it all.

EDDIE PALMIERIBreaking every rule Because of his unfailingly eccentric vision, jarringaesthetic choices and penchant for constant sonic excess, Nuyoricankeyboardist Eddie Palmieri, better than any other artist in the vastlandscape of Afro-Caribbean music, fits the definition of genius.Indeed, when you take a look at his prolific discography in the salsaand Latin-jazz genres, it is hard to believe that a single man isresponsible for such a kaleidoscopic wealth of quality material. Theyounger brother of another talented performer, the late pianist andbandleader Charlie Palmieri, Eddie began his musical training as atimbalero, before switching to piano and developing his trademark sound:furious, dissonant and percussive. After a stint with the orchestra oflegendary singer Tito Rodríguez, he formed a trombone-heavy outfit bythe name of La Perfecta in 1961. At this point, his musical ideas weresomewhat restrained compared to the wild experimentation that would soonfollow. From the very beginning, however, Palmieris take on Afro-Cubanmotifs overflowed with flavor, and he quickly became a favorite amongNew Yorks dancers, performing at the infamous Palladium night clubalongside the bands of Rodríguez, Machito and Tito Puente. By 1965,Palmieri was raising the temperature in his music with "Azúcar," aclassic single, defined by an electrifying piano line that simply daredyou not to shake your hips to it. A year later, he teamed up with vibistCal Tjader for a couple of classy Latin jazz albums. It was in the 70sthat Palmieri really blossomed as a composer and salsa anarchist. 1975sThe Sun of Latin Music unveiled the pianists two latest discoveries:electronics and 19-year old powerhouse singer Lalo Rodríguez. Thecombination was exquisite, and Palmieri improvised recklessly withestablished musical formats. One moment, hed be the elegant classicist,caressing our ears with the formal beauty of a danzón. Then again, hedquote the Beatles and grab your ears with a couple of noisy, psychedelicchords.This creative streak continued until the 80s, when the appearance of thesalsa romántica fad, which Palmieri hates with a passion, forced him toretire into the safer world of Latin jazz. It was an irreparable lossfor the salsa genre, which made his return in 1998 all the moretriumphant. Since then, the pianist has continued to innovate and dreamup new projects. The resurrection of La Perfecta in the year 2002 isonly the latest chapter in a career that will hopefully continuedelivering thrills for years to come.

Essential Listening: AZÚCAR PATI TICO. The classic Palmieri sound of the60s, with the rock-solid Manny Oquendo on timbales and a host of notableplayers. "Azúcar" simmers with sensuality and tension. W/ LALORODRIGUEZ, THE SUN OF LATIN MUSIC VARESE. The opening "Nada De Ti" is apungent, straight-ahead salsa number. After which the mischievous Mr.Palmieri proceeds to demolish our expectations of what tropical music issupposed to sound like. EL RUMBERO DEL PIANO RMM/UNIVERSAL LATINO. Theold master teaches todays snotty salseros a few lessons on swingdynamics. He also introduces Hermán Olivera, the best salsa singer ofthe new generation.

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Essential Listening

1 TITO PUENTE, DANCE MANIA RCA INTERNATIONAL. Its hard to believe somany hits can fit on one single album. 1958 saw Puente at his creativepeak, recording these 12 three-minute gems with a big band thatfunctions like a well-oiled machine. 2 FANIA ALL-STARS, LIVE AT THECHEETAH VOL.1 FANIA. Fanias own collective of superstars delivers araucous concert, including Cheo Felicianos tribal "Anacaona," and a16-minute version of "Quitate Tu" with improvisations by everyoneinvolved.3 RAY BARRETTO, THE MESSAGE FANIA. Before becoming a full-time,Latin-jazz devotee, Barretto had one of the hottest salsa combos in thebusiness. Sung by Adalberto Santiago, "Arrepiéntete" encapsulates theFania sound in all its glory. 4 WILLIE COLÓN, THE GOOD, THE BAD, THEUGLY FANIA. This 1975 release boasts vocals by Lavoé, Colón and Blades.Theres a wistful, nostalgic air about this record, especially on theBrazilian flavored "Cua Cua Ra, Cua Cua" and Blades "El Cazangero."

11 LOS VAN VAN, LLEGO ... VAN VAN ATLANTIC/CALIENTE. 30 years after itsinception, Juan Formells orchestra continues to define the sound ofmodern Cuba. The combination of syncopated polyrhythms with sweepingviolins and trombone is intoxicating. as NG LA BANDA, EN LA CALLEQBADISC. The best timba band in the business delivers its most cohesiveset, with funky workouts such as the anthemic "Los Sitios Entero." Nodoubt about it, bandleader José Luis Cortez was definitely ontosomething. ad SONORA CARRUSELES, HEAVY SALSA DISCOS FUENTES. After anextended creative draught, Discos Fuentes returned to action in the late90s with Carruseles, a group whose noble mission is to resurrectstandards of the past with tighter, faster arrangements. The sound ofthe future.

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HARD TO FIND BUT WORTH HEARING:af BENY MORÉ, MARACAIBO ORIENTAL RCA INTERNATIONAL. Cubas foremostsonero shines on these sessions recorded between 1956-58. Morés timingis impeccable on smoldering boleros such as "Por Qué Pensar Así." agMACHITO, YO SOY LA RUMBA WEST SIDE. Machito and his sister-vocalistGraciela-had a unique talent for expressing the sheer joy of Afro-Cubanmusic. This 1965 date is a particularly bubbly example of theirlighthearted touch.